Creative Teaching Techniques Teaching Students To Slap Tongue f ee ‘S teve, I have a problem. I've been working for years to keep my saxophonists from slap tonguing and now this contem- porary piece I’ve programmed calls for it! How do I teach it? About once a year, I am con- fronted with this issue. The bigger problem, of course, is teaching students not to use slap or “pop” tonguing as the standard articula- tion, We all hear this sound fre- quently with elementary and middle school students, who are still work- ing on the basic fundamentals. Most players correct the problem by high school age, which is precisely the time when the effect may show up in the repertoire, So, what do you do? DEFINING THE EFFECT First, we have to define the con- cept of slap tongue. It’s easier to demonstrate than define, since the effect is a sound. A slap tongue may be merely the use of an overly. heavy tongue when articulating. The resulting sound is similar to any other, but the note begins with a ex- plosive “‘pop."" I prefer to think of it as a “wood block” effect, very similar to the sound made when hit- ting a wood block with a drum stick. My favorite use of the slap tongue is in Henry Brant's Concerto for Alto Saxophone and Orchestra Merely seeing the effect in the music (indicated by a + over or below the note head), however, doesn’t mean a thing. It’s only when you hear the ‘masterful performance of this piece by Sigurd Rascher (Woodwind Ser- vice record, D105) that the effect comes to life. Rascher’s abi alternate between the regular and slap tongue is phenomenal and exciting. ‘Saxophone Journal Steven Mauk PRODUCING THE SOUND Te found that most students ean be taught to produce this effect through a step-by-step process. Demonstrating the sound, of course, is an important element of teaching the technique. (You teachers can find numerous ex- amples in classical and jazz. record- ings.) Once the student has the sound in mind, the process is as follows: Moving the Tongue 1. Place hand 2 inches in front of the ‘mouth and whisper “dot.” Leave tongue on roof of mouth for final“. 2, Repeat step 1, but press tongue hard against root for "a." Remove in 2 quick, violent motion and return with hard presure 3, Continue 2, working for loud, porping ot clicking sound. (Do not blow ait as when playing & note. The only air released comes from the olent action of the tongue, Use the hand in front of the mouth to check this.) Once the tongue motion is mastered, it an be applied to the instrument. Making the Sound 1, Place mouthpiece in mouth. (Use less mouthpiece than normal.) 2. Use tight embouchure t limit ted’ vibration, 3. Finger low F. 4, Use violent “dot tonguing and produce a slap tongue note. (Remember: The only air released ‘comes from the violent action of the tongue, Da not ‘blow’ air to produce the sound as usual.) Few students will be successful with this process at first. This is because most are not patient in learning how to move the tongue. Be sure to drill the student thoroughly on this before letting them apply it to the saxophone. ‘Once they begin to get the idea, have them restrict their practice to the lower range with simple rhythms. LIMITING FACTORS ‘The slap tongue effect is easiest to produce in the middle and lower registers. Once you proceed above high A, it becomes more difficult. Since a longer tube length is used for lower notes, the resonance of the slap tongue is better in this register. ‘The slap tongue effect has not only the timbre of the wood block, but also much of its projection. Although it carries well, the effect cannot match the fortissimo capabilities of the saxophone. The dynamic level of supporting in- struments may have to be altered when the saxophonist uses slap tonguing. Although the music usually deter mines when to use slap tonguing, the teacher and player frequently have some say. Two examples of in standard repertoire are found in the Bernard Heiden Sonata (last note, movement 1) and Jacques Ibert’s Concertino da Camera (cadenza of movement Il). These pieces were composed in the 1930s, when novelty effects were very popular. Players and teachers will have to decide whether the use of slap tonguing in these pieces ap- propriate today or merely ‘‘corny.”” Replacing the + indication with an accent mark is the standard substitution. ‘Composers writing in the last twenty years have asked for slap tonguing as a percussive effect in many of their pieces. You should make every effort to create the desired effect. Since many of the saxophone’s extended techniques come from novelty effects created in > Continued on poge 64 aWant to Find music article? If it’s in an American music journal, Music Article Guide is the source to check first. 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The slap tongue effect can be incorporated voluntarily into jazz improvisations, as well. Here the player is the composer and the use of it can be quite effective. As with any technique, be sure to use it sparingly to keep the sound fresh and new. So, here’s how to get started, Now it’s up t0 you to refine the tech- nique and decide where it should be used effectively. Good luck! i